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Drama and Acting lecture

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This lecture is for the Drama and Acting lecture in HUM 1900.

Drama and Acting lecture

  1. 1. Acting
  2. 2. What are the differences between acting for the stage
  3. 3. What are the differences between acting for the stage and acting for the camera?
  4. 4. Film acting requires a different approach than theater acting
  5. 5. Film acting requires a different approach than theater acting Films are shot out of sequence:
  6. 6. Film acting requires a different approach than theater acting Films are shot out of sequence: - scheduled logistically
  7. 7. Film acting requires a different approach than theater acting Films are shot out of sequence: - scheduled logistically - can’t build toward a performance, the way they can on the stage
  8. 8. Film acting requires a different approach than theater acting Films are shot out of sequence: - scheduled logistically - can’t build toward a performance, the way they can on the stage - get “into character” very quickly
  9. 9. Scenes are constructed out of shots: wide shot, medium shot, close up, etc.
  10. 10. Scenes are constructed out of shots: wide shot, medium shot, close up, etc. Most films are shot with a single camera
  11. 11. Performances are ASSEMBLED out of the best shots
  12. 12. Performances are ASSEMBLED out of the best shots Actor’s performance is (somewhat) out of their control - in editor’s hands
  13. 13. Performances are ASSEMBLED out of the best shots Actor’s performance is (somewhat) out of their control - in editor’s hands Films that contain a lot of editing may distort an actor’s performance (formalism)
  14. 14. Performances are ASSEMBLED out of the best shots Actor’s performance is (somewhat) out of their control - in editor’s hands Films that contain a lot of editing may distort an actor’s performance (formalism) Film = director’s medium
  15. 15. Performances are ASSEMBLED out of the best shots Actor’s performance is (somewhat) out of their control - in editor’s hands Films that contain a lot of editing may distort an actor’s performance (formalism) Film = director’s medium Theatre = actor’s medium
  16. 16. Method Acting
  17. 17. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director
  18. 18. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director - reaction to the more showy acting styles of the time (early 1900s) –reaction against Theatrical Acting
  19. 19. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director - reaction to the more showy acting styles of the time (early 1900s) –reaction against Theatrical Acting - developed more realistic style of acting
  20. 20. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director - reaction to the more showy acting styles of the time (early 1900s) –reaction against Theatrical Acting - developed more realistic style of acting - performances are more internal, less external
  21. 21. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director - reaction to the more showy acting styles of the time (early 1900s) –reaction against Theatrical Acting - developed more realistic style of acting - performances are more internal, less external -actors “live” the part
  22. 22. Method Acting - based on concepts originally developed by Constantin Stanislavsky, Russian stage actor and director - reaction to the more showy acting styles of the time (early 1900s) –reaction against Theatrical Acting - developed more realistic style of acting - performances are more internal, less external -actors “live” the part -lengthy rehearsal periods, actors encouraged to improvise
  23. 23. Subtext
  24. 24. Subtext Stanislavsky encouraged actors to look for subtext in the script – what the characters are thinking (beyond what they’re saying)
  25. 25. Subtext Stanislavsky encouraged actors to look for subtext in the script – what the characters are thinking (beyond what they’re saying) Emotional Recall-By exploring their own subconscious actors could trigger real emotions
  26. 26. Subtext Stanislavsky encouraged actors to look for subtext in the script – what the characters are thinking (beyond what they’re saying) Emotional Recall-By exploring their own subconscious actors could trigger real emotions Subtext is often conveyed non-verbally through body language
  27. 27. 1947 - The Actor’s Studio founded in New York
  28. 28. 1947 - The Actor’s Studio founded in New York - based on concepts pioneered by Stanislavsky
  29. 29. 1947 - The Actor’s Studio founded in New York - based on concepts pioneered by Stanislavsky Members of The Actor’s Studio include:
  30. 30. 1947 - The Actor’s Studio founded in New York - based on concepts pioneered by Stanislavsky Members of The Actor’s Studio include: - Robert de Niro
  31. 31. 1947 - The Actor’s Studio founded in New York - based on concepts pioneered by Stanislavsky Members of The Actor’s Studio include: - Robert de Niro - Sidney Poitier
  32. 32. 1947 - The Actor’s Studio founded in New York - based on concepts pioneered by Stanislavsky Members of The Actor’s Studio include: - Robert de Niro - Sidney Poitier - Marlon Brando and many others
  33. 33. Sherrybaby (2006) Dir Laurie Collyer Maggie Gyllenhaal as Sherry
  • YumingZhang10

    Aug. 20, 2017
  • JohnsonSundayGoselle

    Nov. 3, 2016
  • ThePlaygroundActingS

    Apr. 21, 2016
  • louisphabash7

    Mar. 30, 2016
  • RandallWhittinghill

    Jan. 8, 2016
  • chloe99m

    Aug. 29, 2015

This lecture is for the Drama and Acting lecture in HUM 1900.

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